<<

Henry Keazor «Up and Atom!» Superheroes in

I. Introduction

It is generally agreed that the cartoon series The Simpsons is an often sarcastic, ironic and biting distorting mirror of contemporary Western society. Originally created in 1987 for a series of short films in the context of the Tracy-Ullmann- show by and then, in 1989, decisively developed as an autono ­ mous 30 minutes show by Groening, James L. Brooks and , «America's most dysfunctional family» (as the Simpsons have been often hailed), takes up issues and topics not only related to current political and social discussions, but also to art, literature, music, theatre and popular culture. They have managed to be more than «simply a commentary on culture but an intervention into culture,» as John Alberti has put it.1 As the highly self-referential title-sequence makes clear, the media, especially television itself, play a decisive role: the opening sequence culminates with an image of the entire family gathering before the television set. The importance of this moment is even enhanced by the fact that the whole sequence is built out of a mix of on the one hand each time recurring elements and of, on the other hand, new ones, changing almost every time. Thus, the succession of scenes depicting how the family members leave their different duties at school, at work or shop ­ ping, are interspersed in each and every episode with variations. These alter­ ations to the main substance of the opening sequence include 1) the blackboard ­ lines of the son , which always hint upon his offences, earning him this punishment, 2) daughter 's saxophone solo, provoking her dis ­ missal from the school orchestra and, 3) especially, the so-called «couch gag» which emphasizes the moment the family gathers in front of the TV set by presenting each time a variation on how and despite which obstacles the family manages to take their seat on the sofa. Moreover, the suggestion is that the Simpsons apparently watch their own show since it is the title of the cartoon which appears on the screen of their TV: we not only watch the Simpsons, but that we actually watch The Simpsons with the Simpsons - a fact not only acknowledged e.g. by Jonathan Gray's study Watching with the Simpsons, 2 but also confirmed by the writer and producer : «Some of the most creative stuff we write comes from just having the Simpsons watch TV.» 3 In fact, very often the above mentioned themes and topics - such as politics and culture - are introduced via television or put into a more or less direct rela­ 1.2011 tion with it (for example when the question, if, despite its shocking nakedness, Michelangelo's David should be exhibited in the Springfield Art Museum, is dis ­ berichte cussed in a TV show).

20 kritische Henry Keazor «Up and Atom!» As wish roes II. ing tures). up» «caricature» immediately taken impact perceived they become Millar's have the films for in history roes, roes torting ning upon characteristic cature again see academic also starting 2010 comics, cartoon own spread superhero: superheroes comic

The

A: already Although But Hereby, Not Finally, The However,

also media, them.

and

argued,

in in

are genre

self-declared of fulfilments cinematic TV

and comic Superheroes matter

up Simpsons. book

Simpsons

exaggerates

Therefore, towards

TV mirror the The

of of

only,

superheroes the part means and here

(and a in and

and

study,» TV. the American deficiencies wish

is

Radioactive

but as stated, (for Simpsons, media the

over the

books. superhero-history

John originally despite in not of -

The movies recognizable

in 4 when mocked as in thus superhero-genre traits

of

even

- a example comic fulfilment, the

cinema adaptation 30's Europe

our Given series

since depiction society the the Simpsons

incited

it

because

the Romita

and superheroes

The

the in

as Thus, wider

it

is

after

of society, culture the of are » only are

film

distorted comes

by

books the rewarding they-just

in Man. movies here animated that

comes Simpsons

the traits emphasizes and

more the

-

fact as Ndalianis thus

and not

the society

Georg

the which Jr.'s

medium cultural

as media

they mainly which

a while

contemporary a

directed The TV,

in 20 In

on the study

while

we to

that the of TV influenced show, clearly

Simpsons-universe

in from

th also comic 2008

a

which

in

in Simpsons, comic books a Europe, the

mirror Wilhelm are

will presence certain series a

mostly, often century and only

drawings) depicted to like is

at «superheroes

everyday

the

deals

certain

consciousness,»

of used

has in play

the 7

presence overloaded mostly in

study by comic

the why especially meaning

books what superheroes the film started

means

Simpsons

deal referring a

of

Italian

Matthew stated,

with way

Europeans by an by

when Friedrich same

certain Simpsons and as

The and of way superhero

person them

there

book

life, them with and

are is seen superheroes

he

and the and

in

Simpsons

how still that

«caricare»

an

also time see

Simpsons -world. with while

dealing

also have

of «viewed a comic in

also to

is series seems

American Vaughn.

way the

- above, the phenomenon media:

or

almost heroic> is

an Hegel. 5

when

films. ongoing, its

populated superheroes TV) we -

recognize

characteristic but,

showing

therefore seems situation making

by exactly largely appear almost representation

representation reviewing

role.

distorting

the

strips

by Kick-Ass, As

with and might to

exaggerating

is

as 8 talking about in

as In is =

over-determined

necessarily

In now

be

a

predominance often

to

way Jason not order

«to since

a accordance

primary

in discussion a been «the superheroes, and

therefore: fun

only

a stand kind with most in also also similar

comics, also only

charge,» explored

kinship

still of

followed order

dealing a mirror books of the to Bainbridge

superhero

excluded

21 traits life, one a make development,

of

a

of at had

restricted create it

respectively

study

importance of

of

plethora entrails.» series, way

adolescent

and

the the to

«Superhe-

(the

recurrent given

cartoons,

«Because and

with superhe superhe between with

helps towards and

«to and in

evident make

by

begin

of draws a issues mock

of genre

a then Mark

term from

cari

load

as still fea dis has has the the the the the

its us

to

of 6 it a ­ ­ ­ ­ ­ ­ ­

1 A look into the different superheroes, present in the Simpsons-universe: The Simpsons, from the episode Radioactive Man (1995)

Bart Simpson and his friend Milhouse Van Houten during the opening of the epi ­ sode Radioactive Man, produced and first aired in 1995,9 makes clear, Bart loathes other - seemingly new - superheroes as weak imitations of Radioactive Man and he even points out their raison d ’etre: the greediness of the industry which wants to cash in as much money as possible by creating a new superhero every week. It is interesting in this context to see which characteristics these superheroes have: in a for The Simpsons typically quick camera pan across the comic book ­ store (the series invites its audience to view and review its episodes with the remote control in hand in order to stop at particular moments and discover all the seemingly unimportant details), we get a good overview of the comic books on sale. It hereby becomes obvious that the imagination of the comic book indus ­ try in creating new heroes is limited to the increasingly absurd variations on the combination of humans with the surrounding flora and fauna (ill. 1): Birdguy, Cat- , DogKid, Snakekid, The Human Bee, Treeman, Mr. Hop and Iguana Lady clearly show that their creators are simply and in the most uninspired way only varying the model introduced in 1939 by Bob Kane and when presenting Bat­ man , a superhero who dresses up in a bat-costume and, like its heraldic animal, only gets active in the night, as well as 's and Steve Ditko's Spiderman from 1962, who in a certain way took Kane's and Finger's concept verbally and at the same further by presenting a hero who not only calls himself after an animal in order to hint upon certain of his characteristics in crime-fighting, but who ac­ tually - via a bite from a radioactive spider - got some of the capabilities and skills of a spider (such as great strength, climbing up walls etc.). The apex in this respect was certainly the introduction of the Animal Man in 1965, a superhero (created by author Dave Wood and artist Carmine Infantino) with the power to absorb the capabilities of every nearby animal,10 topped only by supervillain The Animal-Vegetable-Mineral Man, introduced already in 1964 by author Arnold Drake and artist Bruno Premiani, whose body could transform into any mis­

matched combination of elements. 1.2011 Michael Chabon (a big admirer of The Simpsons who also appeared in the series as himself in 2006), in his Pulitzer Price winning novel The Amazing Adven ­ berichte tures ofKavalier & Clay, published five years after the Radioactive Man-episode in

22 kritische Henry Keazor «Up and Atom!» psons, Husbands and Man) Person were - tending Likewise, roes the merely title more plotting book mal, but themselves) they not in thinking Thus, the try «by kick and ent sidered elements (ill. derided stands, (obviosuly 2000, superhero-creation sode order

the

the

But But That That have or ber. flames If to

1) comic-book-business cover: either night also the

finally

Robin might hero,

but come he's

Three Jewish genre created, and

or to,

a they projects profit 13 actually zoo.

even

He at

swap monster.

the there's

by

a in question> the less

these and heroes of a

as like to of

the or bandwagon in that

(such could

fight

just

girl)

the ill. be modelled Chabon:

up

Men arrive Birds,

who as the also

Milhouse animals.

is back the critique ice partners comic

the the Houdini, in a

places the

same

Knives,

it is not cat 2). with a

in «heroes» Simpsons-episode star the or

the going be

silly

comic and vampires and Okay? baseball proselytized mirror made as like Superman, same

2001 here or 15

to Manboy.

the

death Bugs. at a just

[...]. book

time,

strategy with late for Martian,

a a at - a the

a variations the a

Batman upon In rolling of

14 spider

Batchick end puts

totally volcanic to Batboy It illustrator Robin

appears pseudo-spectacular

episode books. a obvious Comic

limited

the

two

Underwater time the 30's doesn't

convention: are store, conclusion: be

The

equipment). one and

it

in it, or the

or guys [...]. he different

Aquaman pulls just doesn't

months,

arbitrariness question

of Simpsons from

Hood

Book when a different «escape

a

«Christian are

For (with another

Vat

with could thus

(playing

Superman-inventors to falls phenomena Worst fucking 11 postapocalyptic first the matter, of

humans Josef

about running is their actually 69, out

17 example,

the already

-

Superman comic

emphasized be arrive for «Bat»

the

as matter the

«[...]

guys.» if

and a

wishes Episode I'm

hints from

several

, is

because a

growing during

Kavalier

hero he or

man heroes, «Stone-age

a on

throwing

,

covers

why>

school

Robin»),

new telling

Albert turns forget

the

here, around together book

at of behind storyline, known the

their

and at «

of

the

Ever,

comics many

the he was friendly right

superhero, [...].

the pun

into

from

but

and the

success war bus

producers, plants: however, ifhe's

of troubles.»

animals. by you, could Schweitzer.

Escapist),

by

conclusion:

or dead

together dressed fact

19 heroes the

created:

which

beginning

the fire now,

Robin,»

that also Jerry

audience author with

is representatives

driver that day zone» the Bart's

dealing and

by

huge,

be that not or Ghost unimaginative

hero's

see fact

of

is see, stretches «chick»

a comic

the humbly

water

Siegel discovers

they Biclops, weird Everybody's animals

god

(such not

like 16 the

he the

a a if - friend Otto Sammy

Chabon's the seemingly then as

Thus, at that

12 mix time multitude he's with

his who Casper

or

funeral, doing of

referring mocked this question.

all superhero-genre every or books

Lava

and

a

as combination can

presents

the

tiny, two

name: drives as of stone

whose demon

seem our

Milhouse, to the

very reads -

in

's

that

(as 23 Joe «Black

be Lady

it?>»And

and ifhe 2007 the damn of the (all protagonists

of of

guy death

plagiarisms depicted contrasting going or

moment, of in

they

an

to

the the they Shuster) Busman. a

or to the

comics main narrative

of India 1991

Klayman not superhe

can bus, and The

his

hits

episode

a contain animal,

an

Robin» animal

whom Power- books comic

of

while put

to pres

shoot side

they thus

own con Sim

Rub Tree ani epi fea- but

the the

we on be

in in 18 is it - ­ ­ ­ ­ ­ ­ ­ ­

2 The dramatic means used by the comic book industry in order to attract customers neutralizes itself: The Simpsons, from the episode Husbands and Knives (2007) ture is that he wears - just like Milhouse - thick glasses, thus presenting a vari ­ ation of the Marvel superhero 20 who has to wear a visor with a lens that runs from side-to-side in order to and control the constant optic blast ema­ nating from his eyes (thus giving him a one eyed appearance - hence his namesake «Cyclops»). Whereas Cyclops ’ lens also functions as a device for the use of his superpowers, in Biclops ’ case the glasses have no other function than to make the hero appeal to the wearer of glasses and to make them feel a bit like a superhero too. This detail doesn ’t come as a surprise if one knows that the hero turns out to have been invented by the LensCrafters, an international retailer of prescription eyewear and sunglasses, founded in 1983 in the United States, and famous for its attention attracting TV commercials. Hence, the many copies of the comic book Milhouse orders fail to sell. Even birds, as Bart explains «won ’t [...] use them in their nests» (a statement, immediately confirmed by a frustrated bird which shreds a copy of the book into pieces in front of the two boys). 21 At the same time this is a clear reference to the earlier episode Three Men and a Comic Book from ten years earlier in which Bart, Milhouse and Martin Prince purchase the first issue of Radioactive Man for the sum of 100 Dollars, but then get suspicious at each other when it comes to decide who should keep and hold it safe. In the end, while fight­ ing about its safekeeping, the book is accidentally destroyed during a thunder ­ , and the remaining shreds are then used by a bird in its nest (that Worst Epi­ sode Ever pays homage to the Three Men-episode is even further stressed by the fact that even Martin Prince has an indirect appearance in the former and that opens with the presentation of issue No. 1000 of Radioactive Man). In the Three Men-episode we also learn about the genesis of Radioactive Man: After having gotten caught in an atomic explosion in a nuclear testing zone, Claude Kane (the name is given in homage to Batman-inventor Bob Kane) realizes that he has become radioactive and thus decides to call himself «Radioactive Man» from now on. However, it is not clear which superpowers he actually has (besides being radioactive) since he never shows them. Thus, although his gen­ esis recalls superheroes like The Atomic Thunderbolt, 22 Atoman 23 or Captain Atom 24 who have superhuman abilities related to nuclear power, Radioactive

Man more closely resembles Batman. In fact, Radioactive Man and Batman share 1.2011 multiple features: Beginning with the fact that he - apparently - has no real superpowers to his secret identity in everyday life where he (just like Batman ’s berichte Bruce Wayne) appears to be just a playboy millionaire to his sidekick (Robin in

24 kritische Henry Keazor «Up and Atom!» Joe Man, Batman ver were who world upon under thic twin tain Age»), much had roes humour). order crime distant lated hero,» Batman- preting nier a his

pun

Thus, At As In battle

Shuster,

Age»

their

Atom and Wolfcastle,

in

would

of

especially response introduced superheroes ’

on as to the 29 almost The which s scholars

Superman,

The planet, ’

the s

Superman:

but second

he

different fight dark instead

Batman

[up Radioactice case,

cry same Simpsons and

Simpsons,

sums part lead from

who

to «Up the

exclusively

Gotham

evil.

Fallout comparable

living to

time, such 1970],

superhero» modelled known

of ’ the

of

up

s first also Cleveland, and in

«created

the

«Ages» fighting slogan

where Radioactive

the

we

all

1941, masses as Man we

in

that

Atom!»

had Boy superhero Nazi the

City

the Radioactive the Bill

for still

also during

«Up

upon (such clearly

characters the «Bronze [Rod their

heroes, by ambivalent an where bright concept their for

Boichel in

Ohio, to which have have

two and latter

actually

1939

example

Runtledge] victory.» Man

Arnold as own

the

was quirky,

is

and one the an 25 traces at he Jewish

Age»

Man

have a on of day,

was in but has

them!»

different who, awareness

comes

created product «Golden

year modern

feeling the Schwarzenegger, the a

existing

27 ’

against which

[up superhuman s film: Batman offbeat

of already

shown,

high-school

«Atom»-slogan). Batman in

as hand Ubermen[s]ch: before

an to

(a out

Radioactive

members because

towards

he incarnations

of Age» city difference, the on

awareness

of Adolf hints

superhero of structure the is instead

Batman a

as, the the is of mid

just his reaction [from

thus ending Metropolis

as

powers upon

buddies,» other historicity Hitler we

the Bat-cave of

1980 human,

Boichel Man

doesn

an

’ stubbornly

the s 1938 the

«Golden Simpsons, 3 ( have Three 26 more possible 1991

28 of

and

and introduction his

is ’s] ideal, to ’

«Golden (such

s whose ) Austrian Radioactive the comic

and

nothing Men ’ case) to t similarity and

Jerry surreal the repeatedly versions.

puts living only or Age»-superhero: where

get

of

from 1956], circumstances and

25 comes

superior

as less effects

the

the

«first

up

book when

repeats

adventures it,

at a

the

Age» Siegel the

in Man,

actor

Comic

else

to «Modern he slapstick superhe

the «a

night

the

episode the as

to

from

genre, finally Plastic super-

the of fights calcu

inter

hints inas Book than dark Cap­ man «the

«Sil- Rai and

Go nu the

The

in

a ­ ­ ­ ­ ­ ­ ­

clear power, being considered as a blessing as well as a threatening curse. Hence, the date of his - November 1952 (ill. 3) i.e. the month the United States successfully detonated the first hydrogen bomb, codenamed «Mike», at Eniwetok island in the Bikini atoll in the Pacific Ocean - clearly refers to the era of the Cold War and its nuclear armament which gave rise to typical films of Jack Arnold such as Formicula (1954), Tarantula (1955) and The Incredible ShrinkingMan (1957) where radiation was shown as responsible for increasing or shrinking liv­ ing beings such as animals and humans. In the late 50‘s of the Simpsons-world Radioactive Man, not unlike Superman with the black and white serial of 1951-1958, got his own film. Here,30 however, the creators of The Simpsons clearly hint upon the fact that the origin of the comic books was mainly commercial in the first place: newspaper comic strips had al­ ready appeared in the last decade of the 19th century, but by the beginning of the 20 th century they already had gained such a popularity that reprint collections of the newspaper strips began - for commercial and promotional reasons. Thus, Procter and Gamble for example used comic strips to give away premiums and for advertisement. 31 In the 50's film dedicated to Radioactive Man, we have more than delicate traces of this heritage when the hero praises the quality of the «La- ramie cigarettes,» giving him «the steady nerves [...] to combat evil» - just before a rocket hits the planet Earth and a dramatic voice poses the cliffhanger-question «Will Radioactive Man act in time to save the Earth?,» a question answered by the words «Tune in next week» over an image of the «Laramie» signet. We then see Radioactive Man in another filmic incarnation, this time in the 70's32 in a series which is clearly modelled upon the notorious Batman-TV-series of 1966-1968, starring Adam West and as the superhero and his side ­ kick Robin. Being considered today positively as a trivial pop-re-interpretation of the Batman -myth and negatively as helplessly camp and silly, 33 it is this latter way the series is understood in The Simpsons by a film producer who now (i.e. in the middle of the 90's) wants to make a new updated and «serious» interpreta ­ tion of the superhero Radioactive Man and his sidekick, Fallout Boy. Instead of the goofy, lettered sound effects, interspersing the badly choreo ­ graphed fights and the ensuing silly dancing (an element, not in this way present in the original Batman-series, but referring to the «Batus», the dance invented by Arthur Murray for the Batman -TV-series and featured in other contexts at least twice in episodes), he decides to use real X-rays and even real sulphuric acid, ob ­ viously in order to make things appear more real and serious on the big screen. That the re-interpretations of Radioactive Man won't stop with this (in the end failing) endeavour is hinted upon with a scene in the above mentioned episode Husbands and Knives where the renowned author Alan Moore (who, with the graphic novel Watchmen has written a sort of a critical meta-referential history of the superhero-genre) talks about the way he has re-interpreted the myth of Radioactive Man, grounding him into «reality» by making him a heroin-addicted jazz-critique who even isn't radioactive. While the Radioactive Man -episode deals with the different historic layers of

each superhero, another episode titled Homer the Whopper tackles the differences 1.2011 that ensue when a comic book is interpreted for the cinema. The episode con ­ cerns a new superhero, created by the , who gives the superhero berichte the telling name of «Everyman», which can have multiple meanings. On the one

26 kritische Henry Keazor «Up and Atom!» villains, become was where is like fandom Supergirl). them ming into tional this posed Finally, III. graphic movie turning the in has Book «a refers roring hero hand ment plot Clubber and of above superheroes Comic straighten exact ents tain an (as 1999

a

this

dumpy, the

episode

Things the The Thus This

B:

its Halloween

America background, the was

that which

superheroes himself

mirroring

whose Desperately it Guy

endured at them

opposite

to character, Superheroes

to mentioned version Book his Homer context

own

series own

refers

whole we Girl

and foes them the one novel. is

among the the the

the

when

inventor,

As

also unappealing subversive are means

also

within

ideas into

Everyman

(a 35

and comic collecting, Guy the point tenth

with fact

are of

actress

to the

themselves into

turns - episode 37 by

send-up episode from it when

different, episode,

the why

bus-driver

have does

an the them Stretch media>),

individual

mostly

is

Xeeking the desperately that

about his

with advertising fake

smoothening

that even

that

Halloween-special, Swatchmen,

book an no

actor

earlier

in

who fact into 2009

no-one Lucy ancient daughter not

superheroes

telling

the

episode. coincidence

elements not they

people

the episode

is special as of

Dude also less the

it

based loser:

he that

feature a Xena as is

is

however,

conceived hero

(directed well

Supergirl: Lawless become is,

real-life-superhero: events only

superheroes

Otto's trailer

appearance

sought is surrounded

than seen

are

other Homer: warrior criticises

however, Everyman (a tries

want touching

a 38

an Lisa - as on thus powers

trailer

parody

«vulnerable and

Saddam movie of

(the

the apart

in average

the

everyman.» have

an appearing for existence); that

to

than appears superheroes. the while

to

by

in to

those ironizing her

straightening as

typical «We

emphasis original general

explain

Stretch

play

that

be shows,

Zack the from

thought comic by

to

at the a version of

of (thus

acquires by of Homer mother,

Hussein,

participating satire

instead need physique, be the Everyman

the rare

an

the Everyman case an comics

looks in

Snyder) his tendency to

considered Dude in

34

commercialism 36 clearly to beginning exploding books

the comic x-ray the before «Xena»),

Stretch

appalled Golden

Kryptonite,»

occasions you

the on

costume, on Simpson to on of

of Bart the In

Marge

of

of

commercial

episode

but

and

present all the

of Alan the the

reality

to the

machine

the

which as the a they

and book,

superpowers

-

mentioned

and

Dude the in

day,

superhero,

slim Age Clubber also

«x» and of

his at Bart excesses

episode

by other Halloween-episode Simpson,

a as one x-ray-machine, of Moore's tries

is where

clearly a much are

Milhouse

film.

films

in

of creator the is

a a the pure - the «Place presented

and also down, -

chosen just

and

poster they

sort plays

Nazis. The the due of

interpreting

to anachronistically

exploitation hand Girl

same episode,

humiliating

But

TV more Clubber Simple

physically fantasy turn Lisa the

as and but

indebted to Plastic Simpsons

guise

of

to Watchmen, actually setting

actually of muscle

describes

hints a - 27 Superman

by the

is «apocryphal» that

the protagonists

smooth way

decisive

it given every are extremes him rather

demanding

exactly hanging

the

Simpson of

obviously

film

when Man)

Girl or transfor fact upon) mutated

films

Busman

into Compe

her

up

rather to

are.» - (as

super warns - that Comic

of

treat

pres

fight crew from

him: seen

mir that Cap

role

and and and and

but the the the fic op his

on - as in of 39 it ­ ­ ­ ­ ­ ­ ­ ­ ­

4 «Superbarrio» Gomez, the Mexican real life-superhero

tition» during a fun fair, he spontaneously grabs more or less at random para ­ phernalia at the fair’s stalls, and disguises himself as a - yet nameless - avenger who punishes the cruel by throwing a pie into his face. Homer here ap ­ pears as a super-man in two senses: first, because he dresses in the typical cos ­ tume of a superhero (complete with mask and cape) and, thus without being rec­ ognized, takes revenge on the oppressors of defense- and helpless people; but also secondly in the sense that the voracious and egoistic Homer normally would rather selfishly eat up a pie instead of wasting it by - «needlessly»- helping others 40 and thus, when becoming «Simple Simon» (as he ultimately calls himself with reference to the famous old Mother Goose nursery rhyme) or rather «Pie- man», 41 he shows a super-human effort by not succumbing to his usual greed (thus, committing an act of «anti-consumption» which can be opposed to the con ­ sumerism as criticized in the case of the above discussed Desperately Xeeking Xena-episode). 42 However, Homer ’s initially successful and glorious career as an avenging superhero takes a bad turn when he is confronted with the for superheroes (ste­ reo) typical conflict between heroic existence and secret identity. The idea of Homer turning into a flabby caped in tights is clearly derived from real- life superheroes such as «Superbarrio» Gomez (ill. 4), a Mexican «real-life super-

hero», who after the earthquake in 1985, when he and his neighbours were 1.2011 evicted from their housing in downtown Mexico, began to roam the streets of Mexico City. 43 In this context, he functioned primarily symbolically as the protec ­ berichte tor of low-income neighbourhoods, but also as a representative of the «Asamblea

28 kritische Henry Keazor «Up and Atom!» whose with not real the Peter books. lenged the miliate blackmails his rio» 2002 down everyday concerned de (2004) 5 and door. Springfield's superhero superhero,

Barrios»

Homer

identity to poor; instead has identity «Superbarrio»-events,

film

such Parker But

style put

real In

court from

been and

when order «Superbarrio» existence, version

himself with who

a

Homer

identity

Spiderman struggling (Mexico Bart

decides

is does

is struggle

nuclear now admittedly decisions.

also

instead Simpson

in the to he

in

with of on into combination emphasize

tries

he egalitarian

discovered to City's

the

is,

Spiderman

power the as

between

keeps unmask does between danger discovered,

his The 44

however, film, Gomez to

invented

innocent

But

Neighbourhood Pieman knowledge having,

force

it plant a

or

this, in

closely

anymore, the

acquisition himself by the

with when here

when

and his a

Homer

following where

his by by plot first

such the

extremes. however, Cupcake

life led his

guarded Marco now

Homer he

cruel and

publicly. episode

by

of

as to but protest alter as Homer kisses

Kid:

and classic Assembly), forces his the

«pie» a

a boss,

Rascon then, a

scout The creates

public ego The someone secret. daughter typical

distribution

episode references

his

But Simpsons, works rallies,

the him

scene Montgomery when Spiderman

episode girl wife

Cordova

as

Dalai

superhero his In to motif

a

the

as

selling

Simple Simple in from filed

Lisa grassroots else Marge he change costume

a of the Peter

final Lama, therefore

doesn't

the

who

safety

in who

petitions acting decent housing

is

film.

Simpson episode

cookies Simpson the

superhero-comic Burns,

most scene sides and Parker,

Homer then also

the 29

inspector. 45 same listen organization

in Simple

his

quotes «Superbar-

associated and

shows, same organizes

and owner begs at Pieman's

the

about another upside- refuses private to

Burns' Simpson to

chal

way

her, him suit

hu the

for He he

of a ­ ­

returns as Pieman, now accompanied by his son Bart in the guise of «Cupcake Kid» (thus mimicking Batman and his sidekick Robin: ill. 5) - but when posing im­ pressively in their costumes on the roof of their house by night at the end of the episode, they get immediately «grounded» back into reality when Marge asks them to pick out the leafs out of the gutter, given that they are already on the roof.

IV. Conclusion Summing up, one can state that The Simpsons criticizes contemporary culture by using the motif of the superheroes: superheroes are used for cash, especially from children whom the superheroes are offered as a means to escape from re- ality. 46 At the same time, superheroes are used in order to show the quality gap between the comic book (where by now also superheroes with a rather uncon ­ ventional look - such as the Everyman - are possible) and the film industry for which they first have to «streamlined» and adapted to the conventional Holly­ wood aesthetics. Finally, superheroes are also used in order to show what happens when this phenomenon leaves its usual fantastic existence in the media and enters our re­ ality - with rather sad consequences for the superhero as well for the way our re­ ality is perceived and depicted. This is a narrative device also used by comic book author who, in 1990, made his superhero, the above mentioned Animal-Man, meet his author, that is: Morrison himself. As they exchange their experiences in their individual realities, Animal-Man comes to the conclusion: «Your world must be terrible. It seems so [...] grey and bleak. How can you poss ­ ibly live in a world without superheroes?» To which Morrison humbly replies: «We get by.» 47 1.2011

berichte

30 kritische Henry Keazor «Up and Atom!» jektiven Attempts 7 The Springfield: 1 Anmerkungen chimarischen das und lichen Zustande>, thetik, sons,» typing «Local concerned cifies German now appear 64-85, Comic roes: note toon boundaries 4 2011 tleon diary Contemporary . 2 text. gratefully troit, Oppositional keit bestehenden mit lichkeit machte. Universes,# lin) Helden. sichere 8 superheroes 6 5 Schwierigkeiten London/New [...]

Douglas

this

than Irreverence,# Jason Jonathan John Angela Heer, For ihren See See

Role

des for

for Simpsons>,» 21.

gegenuber, (in

that are An Missed.>

New MI Book Daseins in: and

Satire

and 5), given puzzling here see

Ordnung

an Sie

Dadurch Hegel Zwecken decades,

checking print).

Staates,

der for as situation.

of Alberti 2004, at

For Introduction,# Bainbridge, Alberti,

Idealen die blurred ed. «most

indebted

with

York claims: Cross-Cultural example Henry Jeff stehen

a between

Superheroes in: Ndalianis,

p. Explanation Rushkoff, have

Culture, with York

this Ordnung in Zwecke social

the Arts the Staatsregierung by Gray, hat

who Art,

64.

Ndalianis p.

Simpsons> the in Thoss, in 2006.

studies verandert 2004

so in: neuen in: der Werner der but

die

been Keazor, metareferential der

sich a 2009,

als also and and xi-xxxii, den «Die the and Bainbridge's «Introduction,»

Moreover, Film

commentary.# in daB Global comic where

to Alberti The

Watching

Liebe,

comic burgerlichen it ed. Individuen treten,

«

Weltverbesserung

ihnen

ed. (as American verwandelt «Bart

und his Media:

Weg

Anthony

«Comic correcting certainly studied

transgressed

Zufalligkeit Duncan Amsterdam/New

jetzt p. Metareferential that

Romanen and

in in:

Wolf, (Studies by note Conflicts

by 2009

«

Vorlesungen book

3-15,

Reach:

in sich Prosa Ehre,

the 2004

and here legt. Simpson:

The John die

Angela von

do

Metareference Forms,

The

Polizei,

an

Bainbridge the

with Within 1),

in

auch Katharina Marvel

Book

analysis (as

as

exist Stuff context

der

animated Metivier mit here Ehrsucht Stuart applies

Contemporary [...] (as p.

die

der

Simpsons

p. Etnic

academia in Possibility allen implications

Alberti, in Gesellschaft my prosaischen in an in: agierenden note

des

xxix.

note eine ihren Ndalianis, Functions, Mag die

Stelle

Wirklich- The

are You Gerichte, see

Prince p. Superhe Interme art Worlds>:

uber

English Leaving and Turn

Stereo

auBer- where Ritter- Beard, 4.

to Seiten might dieser

5), feste, Simp­ Simp-

more

einer 1),

form I York

(Ber here oder Ban- May

sub- spe sich car

De the the der

am As- DC

by in of p. in p. of ­ ­ ­ ­ ­ ­ ­

Friends.# Kavalier Asthetik, Bartman Escapist 12 11 10 19 18 17 where That 16 15 14 13 2004 United originally Frankfurt/M. Georg ister, irgendeine bekommt zankt aired costume. aired «What, paper,# Comic do fake, ing after episode ler: that broadcast Ndalianis Greg existing cades-long «Golden in drawn published Chabon The independent 9 sich should sode September (hence (existing) (see simulate scribed

Michael Chabon

Chabon's Dark have

his «This

The This The The This In In See Second

the

below) auch

comic-books Chabon unreal having Worst M. on on

the thelater so

Wilhelm

haben,

a its

States get troubles: in you Book

Presents

also to of

in , story &

several 11 doctor Age# Horse, 21 February May 7

Smith, the

superhero

gut is fits The better ed. friends, who title-character), 2009

er

th

series on

episode until older Clay, noch the aired

th which

Stellung, st publishing some 27, the

mean

episode when

Episode 2000 obviously Chabon,

friends

note episode fact meistens stopped

1965, comic

episode episode teamed November

9, deals on wie well Guy by doctor novel) umhergeschoben 21 and

2009. in

simply Friedrich (as

2001 novel.

asks

London now

issues

1991. not «The soviel

the

or st «Now

Sad

friends September on that

order

(as 47

the

Friedrich

4, can Homer buying note die don season;

looks

p. with with

book

replies:

simpler

is Power Amazing

Ever be heiratet

the of episode 2001. which The the

Milhouse Sack up note

then reading of 567. of the

of The

Superhero has Comic

‘ mocked history. provide doch

anderen represents Under

t they're mit a of

another to

5), the

2000,

with 18, «The Comic the who Hegel, Amazing the figures?# back and you?#

The

Bart's parody

Escapist (see Fox Nelson the

launch

a it whose 14),

126-43,

goes

Man its

der

are

2007. seventh

24, comic sein Bassenge, 12 «Well, originally styles

und Worst 2 Book

19

Whopper

Manga

America's Dead Adventures aren a comic

31 the p.

nd at network below,

back

th p. in the

there

origins Book th Vorlesungen Welt

all comic fake-out.# auch

1995.

on: To

- sein own 94. the

warns season as

Madchen season a wird

93 of the Adventures

(as cover season, ‘ himself title

Guy t written see reader Episode of book here

by in

in which Labor,# «Well, printed the

have and

the publisher, Guy: season. series, continues

described herumge- -

2001 Sad

, [...].»

creation,

note concern order spades#. aired now ein

the

on

Michael replies: Vol. the

largest zuletzt in p. in which which claims of

94.

of Super really

Sack#

«You

been with

Phil- first Ever in first 136.

him und epi you and

sel­ the the the the zur See

de de 19)

the

on in:

on

to In of 1, It a ­ ­ ­ ­

20 Created by writer Stan Lee and artist/co ­ tions such as «Second of Comics» or writer , he first appeared in The X-Men «The Modern Age of Comics». #1 September 1963. 30 For example in the episode Three Men and a 21 When Bart and Milhouse then start a fight, Comic Book . the boundaries between animated cartoon and 31 See for example Boichel 1991 (as note 27), comic book are blurred and transgressed since p. 5. the movement of two boys is put to an halt in a 32 In the episode Radioactive Man. freeze frame, they suddenly feature muscular 33 See for example Boichel 1991 (as note 27), bodies and they are surrounded by the typical p. 15 and Matthew Henry, «Looking for Amanda comic «gutters», framing each image, as well as Hugginkiss: Gay Life on ,» in: Al­ accompanied by speech balloons. berti 2004 (as note 1), p. 223-243, here p. 231. 22 Created in 1946 by writer Larry Morton and 34 The way Everyman gains his powers is the artists Robert Peterson and Art Helfant. moreover a clear reference to Peter Petrelli, a 23 Created in 1946 by Jerry Robinson. character from the TV-series Heroes , created by 24 Created by writer Joe Gill and artist/co ­ Tim Kring and aired in America between 2006 writer Steve Ditko in 1960. and 2010. In The Simpsons-episode Peter's 25 The Marvelman, created in 1954 out of a ability is, however, mediated in a for the series transformation of the former Captain Marvel, typical way: while Peter has to touch other always had to utter the word «Kimota» superheroes themselves in order to gain their («atomic» in reverse) in order to make the shift powers, for Everyman it is enough to touch from human to superhero - see: Paul Atkinson, their comic book adventures. «The Time of the Heroes. Narrative, Progress, 35 See the dialogue in the episode: «Every- and in Miracleman,» in: Ndalinis 2009 man: Thank , for giving me the (as note 5), p. 44-63, here 48. patriotism to want to save the president. And 26 Thus, Radioactive Man actually represents thank Wonderwoman for giving me the boobs a mixture of the typical features of the two to distract the guards.» main comic-book-publishers, D.C. Comics and 36 The name thus also adopts and interprets Marvel: While D.C. mostly stars god-like, born in a very misanthropic way the meaning of the superheroes such as Superman and Wonder late 15th-century English morality play's title Woman, or humans who (like Batman) will­ Everyman (The Somonyng ofEveryman ) to which ingly decided to become superheroes, Marvel the superhero's name also refers - for the mor ­ rather presents superheroes who owe their ality play seethe introduction by Arthur C. Caw­ superpowers to scientific or technical acci­ ley (also ed.), Everyman and Medieval Miracle dents - since Radioactive Man got his sup ­ Plays, London 1967. posed powers due to an atomic explosion (just 37 Watches play an important role in Moore's like a Marvel superhero), but then appears to graphic novel, but the double meaning of the be rather a superhero like D.C.'s Batman, he notion «Watchmen» (as referring to «watchers» represents an overlap of both publishers. See or to «watches») is here of course flattened for the typical D.C. and the Marvel features down to an advertisement when re-naming the Saige Walton, «Baroque Mutants in the 21 st movie after the Swiss watches «Swatch». Con ­ Century?: Rethinking Genre Through the cerning the critics accusing director Snyder of Superhero,» in: Ndalianis 2009 (as note 5), p. flattening down and smoothening out Moore's 86-106, here p. 98. novel see for example the review by Noah Ber- 27 Bill Boichel, «Batman: Commodity as latsky in The Chicago Reader from the 12 th Myth,» in: The Many Lives of the Batman. Critical March 2009 where he stresses the fact that the Approaches to a Superhero and his Media, ed. by original comic book « Watchmen can't be a Roberta E. Pearson and William Uricchio, Lon ­ simple exercise in 80s nostalgia, no matter how don/New York 1991, p. 4-17, here p. 4. hard Zack Snyder tries to turn it into one». 28 Created by writer-artist Jack Cole in 1941. 38 The 4th episode of the 11th season, aired on 29 As comics historian and movie producer October 31 st 1999. Michael Uslan writes in an article, published in 39 The 19th episode of the 15th season, aired Alter Ego (Vol. 3, No. 54, November 2005, p. 79), on May 2, 2004. an American magazine devoted to comic books 40 See for this also Apu's comment towards and comic-book creators from the 30's to the the end when Homer unmasks himself: «Homer late 60's, the historic distinction between the Simpson the Pieman? Impossible! He has never different «Ages» (clearly modeled upon the thrown away a pastry in his life.»

hierarchy of Olympic medals) was introduced in 41 The nursery rhyme begins with the words 1.2011

a letter, published in the letters column of the «Simple Simon met a pieman». comic book Justice League of America in February 42 See for this in general: Sam Tingleff, «The 1966, and immediately was taken up and used Simpsons as a Critique of Consumer Cul- berichte as a sort of «vernacular», replacing earlier no ­ ture,»1998, in: (http://

32 kritische Henry Keazor «Up and Atom!» popular AD yet world's viewers, wired.com/rawfile/2010/09/dulce-pinzon?pid Latina, www.snpp.com/other/papers/st.paper.html Simpsons but therefore, to its commercialism licensing, economic critical their likewise 46 man // loaded 45 of by from trying #7 made «comic the Gomez, me photographed cleaner, match by grant hero-series photographer 44 a 43 complete television, audience its istic an monic and 163-164 scenes soundtrack 179 sten superheroes» World [last [last

www.youtube.com/watch?v=UIA4R5xSFmI

Superbarrios. Judge

For

Pat attitude showing fool's

and

a Presents. pure belief pure

Of See See a [last taking Wubbena accessed accessed and passage aware

ruse, (performed

own workers

Mills his sign

nations capitalist-corporate course, to

from

book ed. vest their #8 largest

also for on

Dredd. however, working

another en using

rebellion court-costume, is has too

appearance accessed:

rebellion.

is moreover unit, prevent

that it

inability for commercial merchandising by

of

whereas of them possible is, this song from

and

YouTube advantage - Simple

hero» will short los

boldly

He of

pessimistic.

yet jobs the

19.12. Hans rightly

there 19.12.2010]). paradoxically, see from

one but Dulce of

in [Frankfurt

in

superheroes media

it Comunicacion

in revolution and

Carlos

Hero procesos

there New be by the British these more in in 2004

is

a example and film, the has could inasmuch general.

as multi-national

-

Simpson.

Roeder,

19.12.2010]). are

on a Spiderman-costume superhero-costumes the seen 2010]) great

the parodic,

to the «real To

Pinzon hypocritically Third

from in Gray

corporations, stressed:

for flagship York

in

radicalism Ezquerra, project

prime made attitude of cooption features

casts some edited

following the see

accuse comic

pessimism it band photos: some am

as

Latin The

October

heights, example sociales

fold. the World offers and, which

2006 life City

with

As Panama of

in two a

Main] at as who

what who time,

in the

but

masiva

failure,

optimism by 2002

not Nickelback) book order such, of

once American he, such «Textually, The

in commentators, as

However, superhero»

the hence, as issues into

(as

the «Superbarrio»

War a nothing

as combines a

Mexican in

corporations the De

see

http://www

as

a kindly superheroes

only in mainstream is

de Simpsons

fan

2009 but

substantial substantial film an

a 1990. lies a series note too disguising

seemingly co-creator meantime draped his

to Superman anything

«real the 1998, therefore y let-down or storyline political-

Mexican

window

America

and «» also activist

cultura for

attract

optim Spider- hyper

in lies which

worse

(- Super

Third made hege 2),

close http:

such 2000

and

has The the up mi the the life

for

= to of in in p.

­ ­ ­ ­ ­ ­ .

ex Mark 47 a taining tronizing the riddled gains [...]

degree

Machina,

Grant entertainment by

Farmer are

keeping with anyone,

of

made hypocrisy Morrison

transparency August

tragic (artists),

nevertheless.

its while

Scylla messages

1990. flaws (author), and

Animal simultaneously

in and of [...].

its

simply The

Man,

33 Chas light, Charybdis

So self-parody.»

notion the

No.

Truog not [...]

program 26: offering

is avoids enter of pa

Deus thus and ­ ­